friendship.
They'd both lost their mothers
very young.
Lennon's, run over by a cop.
Lennon's, run over by a cop.
And they were, in a way, opposites.
And that bond allowed them to actually
see past each other.
And now they have the same goal,
and yet they want
to approach it differently.
There is one line that I always loved
in the script
that I miss in the movie every time
that I see it, which is when Kirk sort of
starts doing his log supplemental here,
he kind of goes on this tirade
about Spock, where he goes,
"Whose only way of expressing emotion
"is by using his eyebrow," or some such.
-But, I know...
-It's in the audio book.
-You can still see it.
-I know why we lost it
because in sort of like its tone...
Well, you couldn't hear it
in the snowstorm.
Yeah. It's tonally weird a little bit.
There's one line coming up
in the Nimoy introduction scene
that I desperately wish
we'd kept in the movie,
because it's the thing we've been
nailed on the most in all of the...
It was the line that kind of embraced
the coincidences of...
I agree.
I mean, I can't tell you how many times
we got nailed.
There's a quantum mechanical
explanation for each...
This scene went on for so long.
This was all done
at the Dodger Stadium.
You can watch it on the DVD, too.
This scene was
originally supposed to be in Iceland,
-and then we got the bill.
-Right.
This shot was done, actually,
second unit in Alaska,
with an actor walking,
and then they added the snow,
the snow falling later
and the distant mountains.
-But the... Go ahead.
-What J.J. is also not talking about
is when we were doing this
at Dodger Stadium,
in order to make our schedule
and finish the movie,
is we had all these sequences
all being shot at the same time.
We had the drill sequence set up
right next door to this sequence.
And J.J., there were literally days
where you were running
-from one sequence to the other.
-Yeah. Even worse.
We'd be shooting the drill sequence,
and you'd have little snow particles
flying over to the drills.
Like, could we get the snow
-not to come over to the...
-Not to be in the desert?
Above Vulcan.
I remember one of those days,
all the international distributors
came to Dodger Stadium,
and it was just, like,
"Okay, over here we're shooting this.
"Over there we're shooting
the drill sequence."
It was like the factory floor. Like,
"Here are the different models of cars
-"we're making for Star Trek."
-That's crazy.
Originally, this creature
came out a different way.
He was sort of behind a big snowdrift.
And Roger Guyett had a brilliant idea
that he just looks over
and sees this thing charging at him
from the beginning.
And then this big red creature...
You know, again, all this was done
on a fairly small piece of set
at Dodger Stadium.
But you know, all that snow is paper.
We had a little teeny piece of a...
Well, not a teeny,
but a smaller piece of this little hill built.
But Chris Pine inhaled probably,
like, four reams of paper
shooting this sequence,
and just worked his ass off.
And this is a staple of sort of classic,
old school spirit of Trek.
You know, here's the massive alien
and there's Kirk.
-And Campbell mythology. The cave.
-That's a kid, by the way.
That guy running in is a 5-year-old kid
dressed in a suit,
to make the hole look bigger
of the cave.
How much of the monster
was the Cloverfield monster?
Designed by the same guy,
Neville Page,
but a very, very different creature.
-Just a totally different personality.
-Looks completely different.
-Different tastes.
-And here's another homage
to the original Star Wars.
Obviously, Obi-Wan sort of first
appears to Luke
by making the call of the Krayt dragon.
He used to speak in this shot,
saying that was the Hengra,
who's notoriously afraid of heat.
Which we cut, thank God.
-Much better here.
-Hengra being?
-When we were in Austin...
-A reference to my